{"id":7188,"date":"2023-11-27T01:31:33","date_gmt":"2023-11-27T01:31:33","guid":{"rendered":"https:\/\/festivaldecineinstar.com\/?p=7188"},"modified":"2023-11-29T06:31:22","modified_gmt":"2023-11-29T06:31:22","slug":"abisal-o-la-fuga-de-lo-concreto","status":"publish","type":"post","link":"https:\/\/festivaldecineinstar.com\/en\/notas\/abisal-o-la-fuga-de-lo-concreto\/","title":{"rendered":"Abisal o la fuga de lo concreto"},"content":{"rendered":"
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\u2018Abyssal\u2019 or the escape from the concrete<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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By ANTONIO ENRIQUE GONZ\u00c1LEZ ROJAS -November 22nd, 2023<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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RIALTA<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Still from 'Abisal' (2021); Alejandro Alonso (IMAGE Courtesy of INSTAR Film Festival)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Abyssal<\/a><\/em>\u00a0(Alejandro Alonso<\/a>2021) is a chronicle of the eternal end, the melancholic beauty of decomposition, and the impressive precipitation of wounded leviathans into the mouth of Hell, piece by piece.<\/p>

Just as in the previous film Terranova<\/em><\/a> (2020) \u2013co-directed with Spaniard Alejandro P\u00e9rez\u2013 with the city in full spectral transmutation, Alonso<\/a> here maps erosion, collapse, the escape from the concrete, the dissolution of the solid. Abisal<\/a> \u2013which as part of the IV INSTAR Film Festival will be available to Cuban audiences on the Festhome online platform from December 4 to 10, always between 10:00 a.m. and 12:00 p.m.\u2013 captures a universe in transition towards mysterious states of existence, incomprehensible to human reasoning.<\/p>

The film may be, as its title suggests, a peek into the deepest realms of life, where the roots of the Tree of the World barely reach. Viewers in Buenos Aires are invited to go there -also due to INSTAR's transnational initiative- on Tuesday, December 5, at the Centro Cultural General San Mart\u00edn, as well as other moviegoers on Thursday 7, at the Zumzeig Cinecooperativa in Barcelona; on Friday 8, at La Maison de l'Am\u00e9rique Latine, in Paris, and on Sunday 10, at the Laboratorio Arte Alameda in Mexico City.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Alonso\u2019s award-winning film is a grand epitaph for these huge tankers, their rusty, silent pride, standing out on the surface of a ship cemetery like tombstones for themselves. Their hulls are massive allegories of the useless and, above all, of the futility of the mechanical enthusiasm that, for example, led modern authors like Dziga Vertov to compose the impressive kinetic ballets that appear in the classic Man with a Movie Camera (1929): an apology for the beautiful and synchronous power of industry as the axis of human progress.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Poster for 'Abisal' (2021); Alejandro Alonso (IMAGE Courtesy of INSTAR Film Festival)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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In\u00a0Abisal<\/a><\/em>, Vertov's machines fall silent and lose meaning in their definitive immobility. The pistons no longer run with an unstoppable rhythm toward the future. The gears no longer sing their triumphal hymn and no longer spin like frenzied planets. Rust shrouds them, cushions them, and soothes the cold that the night brings while, at the same time, it swallows them up and deforms their angles. It melts their individualities, shiny and sharp shapes, into a brown, undefined, dusty homogeneity. Little by little, the boats are transformed into dunes. Dust to dust. Water to water.<\/p>

This last port, as it may seem, does not have the solemn tranquility that could be found in an elephant's graveyard, where monsters rest in peace of titanic bones and ivories. The last sleep of marine giants endures a final torture; this is a circle of Hell where they are condemned to perennial dismemberment because of unknown sins. The stranded moles helplessly accept such an ordeal of mutilation and disfigurement, perhaps praying inwardly to be left to drown in peace, surrendered to a corrosive dullness and a benevolent self-forgetfulness.<\/p>

They also suffer from the intrusion of men, who swarm among them, charged with breaking their ribs and spines, tearing apart the glorious work of other men: these old monuments to the triumph of will over Nature and God himself. With the dazed mechanics of perpetuum mobile, they fulfill a de-civilizing, anti-Machinist task, like termites that anchor their existence and subsistence in the conscientious dismantling of the sturdiest structures conceived by engineers.\u00a0perpetuum mobile,<\/em>\u00a0cumplen una tarea descivilizatoria, antimaquinista, como termitas que anclan su existencia y subsistencia en el descoyuntamiento concienzudo de las m\u00e1s fuertes armazones pensadas por los ingenieros.<\/p>

The anthropomorphic figures end up merging, becoming indistinguishable in the ruinous landscapes where they perform their annihilation tasks. From aggressive and strange entities, they become complements, symbiotic residents of these sleepy wrecks overlooking the waters of the last day.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Still from 'Abisal' (2021); Alejandro Alonso (IMAGE Courtesy of INSTAR Film Festival)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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These men of\u00a0Abisal<\/em>, trapped in the cemetery next to the endless bones they must dislocate, suffer the tautological fate of Sisyphus. The doomsayers are both condemned and ignorant of it. In several of Abyssal's best shots, Alonso -always the cinematographer of his films- fuses his laborious silhouettes with the decomposing masses, tying them to the same fate. They are crepuscular visions where the imperious backlight annuls all perception of individuality; they are spaces invaded by dense vapors that devour shapes; they empty them of volume and blur any identity.<\/p>

The main character (Raudel Gonz\u00e1lez Cordero) seems, at times, to acquire a slight awareness of inhabiting a timeless, strange place, marginalized from the dialectic flow of existence. A constant impulse leads him to pry into the labyrinthine bowels of the dead ships, to rummage through their secrets, the remnants of life that may remain in the corners and are suddenly revealed, generating chaos in the silence. He seeks reasons for his redundant labors: the destruction of the immobile, the useless, the dead.<\/p>

He is drawn to tales of the supernatural, besieged by the sense that there is something beyond the pre-established normality and the final judgments about good and evil, about what \"is\" and \"isn't\" without nuance. Possibly, he perceives what lies beyond because he already inhabits it, because he is a ghost still unaware of this new state. Or because perhaps he has always been a ghost. Doubt and unease never leave him and make him dissonant among his companions, who are more at ease with their surroundings.<\/p>

Abyssal<\/em>\u00a0proposes the immersion in a sphere of estrangement and atrophy, inhabited by monstrosities and specters, illuminated by a sun at the end of the world, whose moon is replaced by the cyclopean orbit of a lighthouse: a sort of infernal Cerberus that seems to maintain a careful panoptic surveillance over the whole place. Alejandro Alonso unfolds a diffuse and abysmally beautiful story about the last remnants of life, awaiting the definitive apocalypse that will plunge everything into nothingness, where, at last, it will be possible to dream.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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You can read the original note\n here\n<\/a>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

\u2018Abisal\u2019 o la fuga de lo concreto Por ANTONIO ENRIQUE GONZ\u00c1LEZ ROJAS -22 noviembre, 2023 RIALTA Fotograma de \u2018Abisal\u2019 (2021); Alejandro Alonso (IMAGEN Cortes\u00eda del Festival de Cine INSTAR) Abisal\u00a0(Alejandro Alonso, 2021) es una cr\u00f3nica sobre el fin eterno, sobre la melanc\u00f3lica belleza de la descomposici\u00f3n y la impresionante precipitaci\u00f3n de unos leviatanes heridos a […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[25],"tags":[],"class_list":["post-7188","post","type-post","status-publish","format-standard","hentry","category-notas"],"_links":{"self":[{"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/posts\/7188"}],"collection":[{"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/comments?post=7188"}],"version-history":[{"count":16,"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/posts\/7188\/revisions"}],"predecessor-version":[{"id":7522,"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/posts\/7188\/revisions\/7522"}],"wp:attachment":[{"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/media?parent=7188"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/categories?post=7188"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/festivaldecineinstar.com\/en\/wp-json\/wp\/v2\/tags?post=7188"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}